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After releasing its lineup earlier this week, Electric Forest has officially sold out. Featuring headlining sets from Odesza, Kygo, Bassnectar, and Zeds Dead, the annual festival in Rothbury, Michigan is returning to just one weekend. With fewer tickets needed to sell out, the event quickly reached capacity and all tickets are now gone. The festival sold out in record time, opening tickets up for purchase at 9am EST this morning, and selling out in just seven hours. Of course, ticket holders will no doubt trade, resell or give away their passes as the festival gets closer and plans change, so if you didn’t get yours, don’t lose hope! Join Electric Forest’s official wristband exchange here. Miss your chance at #EF2019 tickets? The Electric Forest Official Wristband Exchange is the place to buy and sell wristbands for Electric Forest 2019: https://t.co/l4xFzd4bNY pic.twitter.com/n1HRwHFgWC — Electric Forest (@Electric_Forest) December 7, 2018 SONG OF THE WEEK This article was first published on Your EDM. Source: Electric Forest 2019 Just Sold Out In Record Time Source

What a year 2018 has been for dance music! Some incredible music was released, and the GRAMMYs have chosen some of this year’s best tracks for their 2019 nominations. The nominees for the 61st edition of the Grammy Awards were announced this morning. Some of the notable nominees include trance group Above & Beyond for their uplifting track, Northern Soul off their album, Common Ground, which remains the highest charting electronic music album of 2018. Above & Beyond was previously nominated for a GRAMMY in the “Best Dance Recording” for “We’re All We Need (feat. Zoë Johnston)” in 2016. Dance music icons Gabriel & Dresden have also entered the nomination mix. The Only Road, their latest album, was released via Anjunabeats. The title track of the album made a massive impact with a remix from Cosmic Gate, which scored Cosmic Gate a nomination. Tech-house superstar Fisher had an incredible year with his breakout track Losing it, which was played in almost every set at every festival this year. The track hit monumental heights and became synonymous summer 2018 with bro’s and Chad’s everywhere. This year was a great year for Fisher who went on several tours and released some tracks on his Catch and Release label. Porter Robinson‘s latest project, VIRTUAL SELF, awed fans around the world with his latest and unique alias. His track Ghost Voices skyrocketed his latest project to this year’s GRAMMY nomination pool. Kaskade once again made the GRAMMY noms pool with his ever so dreamy remix of Kygo’s Stargazing. Those are just some of the highlights of the 2019 Grammy nominations in the dance category. You can check out the full list of dance nominations below, and the complete listing here. Congrats to all of this year’s nominees! BEST DANCE RECORDING NORTHERN SOUL Above & Beyond Featuring Richard Bedford Above & Beyond, producers; Above & Beyond, mixers ULTIMATUM Disclosure (Featuring Fatoumata Diawara) Guy Lawrence & Howard Lawrence, producers; Guy Lawrence, mixer LOSING IT Fisher Paul Nicholas Fisher, producer; Kevin Granger, mixer ELECTRICITY Silk City & Dua Lipa Featuring Diplo & Mark Ronson Silk City, producers; Josh Gudwin, mixer GHOST VOICES Virtual Self Porter Robinson, producer; Porter Robinson, mixer BEST MIXED RECORDING A Remixer’s Award. (Artists names appear in parentheses for identification.) Singles or Tracks only. AUDIO (CID REMIX) CID, remixer (LSD) HOW LONG (EDX’S DUBAI SKYLINE REMIX) Maurizio Colella, remixer (Charlie Puth) ONLY ROAD (COSMIC GATE REMIX) Stefan Bossems & Claus Terhoeven, remixers (Gabriel & Dresden Featuring Sub Teal) STARGAZING (KASKADE REMIX) Kaskade, remixer (Kygo Featuring Justin Jesso) WALKING AWAY (MURA MASA REMIX) Alex Crossan, remixer (Haim) The post Above & Beyond And More Score Grammy Nominations appeared first on EDM Maniac. Source

Ducky has been on an absolute tear in the last couple months of 2018. Having already released her single “Turning Back” in November, as well as “Leave” on Zeds Dead’s latest label compilation WE ARE DEADBEATS (Vol. 3), she’s back with another new track, “Over.” Leaning heavy into her rave-ready sound, Ducky pushes the envelope on “Over” with a more subtle approach. Rather than in your face bass and synths, it’s a more subdued track that relies on melody and vocal chops for its effect. “Over” is out now, with more to come from Ducky in 2019! Check it out below, and catch Ducky on tour with NGHTMRE on his NGHTMRE Before XMas tour – dates below.  Ducky Tour Dates: December 7th – Revolution Concert House – Garden City, ID December 8th – Tacoma Dome – Tacoma, WA December 20th – House of Blues – Boston, MA December 21st – Echostage – Washington, DC December 22nd – Terminal 5 – New York, NY December 23rd – Brooklyn Steel – New York, NY December 31st – Tight Crew’s Neon Masquerade Ball – Providence, RI This article was first published on Your EDM. Source: Ducky Shares New Track “Over” Just In Time For The Holidays Source

Everyone is buzzing about the 2019 Grammy Awards nominees and we’re particularly interested in the dance music categories (obviously). Dance music simply wouldn’t be the same without its remixes. Originals are just as important, but some of the very best songs come from another perspective. This year, The Academy offers a nod to CID, EDX, Cosmic Gate, Kaskade, and Mura Masa for their revisions of tracks from LSD, Charlie Puth, Gabriel & Dresden, Kygo and HAIM. Let us know who you think is deserving of Best Remixed Recording! View the full list of nominees here. 2019 Grammy Awards – Best Remixed Recording Labrinth, Sia & Diplo present LSD – Audio (CID Remix Official Dance Remix) Charlie Puth – How Long (EDX’s Dubai Skyline Remix) Gabriel & Dresden feat. Sub Teal – Only Road (Cosmic Gate Remix) Kygo, Justin Jesso – Stargazing [ft. Justin Jesso] (Kaskade Remix) HAIM – Walking Away (Mura Masa remix)  Photo via Rukes.com This article was first published on Your EDM. Source: 2019 Grammy Awards: Best Remixed Recording Source

It was obvious from the start that Zedd‘s “The Middle” with Maren Morris and Grey was going to be big — but no one knew just how big it would become. Today, it’s been announced that the collaborative single is up for Record of the Year at the 2019 Grammy Awards, as well as two other top honors. “The Middle” is also in the running for Song of the Year and Best Pop Duo/Group Performance. The latter is self-explanatory, but the difference between Record of the Year and Song of the Year is worth taking note of. Record of the Year recognizes the artist’s performance as well as the overall contributors — producers, engineers, and mixers. Song of the Year recognizes the songwriters. Zedd is up against some seriously stiff competition for Record of the Year — Cardi B, Brandi Carlile, Childish Gambino, Lady Gaga & Bradley Cooper, Drake, Kendrick Lamar & SZA, and Post Malone & 21 Savage. Really, this is anyone’s game. See Zedd’s categories below and the full list of nominations here. 2019 Grammy Awards Record of the Year Cardi B – I Like It Brandi Carlile – The Joke Childish Gambino – This Is America Lady Gaga & Bradley Cooper – Shallow Drake – God’s Plan Kendrick Lamar & SZA – All the Stars Post Malone & 21 Savage – Rockstar Zedd & Maren Morris – The Middle Song of the Year Kendrick Lamar & SZA – All the Stars Ella Mai – Boo’d Up Drake – God’s Plan Shawn Mendes – In My Blood Brandi Carlile – The Joke Zedd & Maren Morris – The Middle Lady Gaga & Bradley Cooper – Shallow Childish Gambino – This Is America Best Pop Duo/Group Performance Christina Aguilera ft. Demi Lovato – Fall In Line Backstreet Boys – Don’t Go Breaking My Heart Lady Gaga and Bradley Cooper – Shallow Maroon 5 ft. Cardi B – Girls Like You Justin Timberlake ft. Chris Stapleton – Say Something Zedd, Maren Morris, and Grey – The Middle Photo via Rukes.com This article was first published on Your EDM. Source: Zedd Nominated For 3 Grammy Awards For “The Middle” with Maren Morris & Grey Source

Everyone is buzzing about the 2019 Grammy Awards nominees. We’re particularly interested in the dance music selections (obviously), so let’s take a look. There’s a lot of greatness and variety to be heard within the Best Dance/Electronic Album category. Jon Hopkins, Justice, Sofi Tukker, SOPHIE, and TOKiMONSTA strongly represent dance music this year with an assortment of styles and and creative approaches to to the craft. Justice came through with Woman, an album that only further proved their rockstar status in the scene. Jon Hopkins blew us away with his vast, masterfully produced body of work. SOPHIE stunned us with a much more unorthodox approach to dance music. Sofi Tukker had us singing along with every beat. And, TOKiMONSTA wowed us with her newfound sound. It’s a tough call. Let us know who you think is deserving of Best Dance/Electronic Album! View the full list of nominees here. 2019 Grammy Awards – Best Dance/Electronic Album Jon Hopkins – Singularity  Justice – Woman Sofi Tukker – Treehouse SOPHIE – Oil of Every Pearl’s Un-Insides TOKiMONSTA – Lune Rouge Photo via aLIVE Coverage for Life Is Beautiful This article was first published on Your EDM. Source: 2019 Grammy Awards: Best Dance/Electronic Album Source

Everyone is buzzing about the 2019 Grammy Awards nominees, and we’re particularly interested in the dance music categories. For starters, let’s take a closer look at the artists up for Best Dance Recording. Above & Beyond, Disclosure, Fisher, Silk City (Diplo & Mark Ronson) & Dua Lipa, and Virtual Self are all contenders. From Fisher’s party starter “Losing It” to Virtual Self’s groundbreaking anthem “Ghost Voices,” each one of these tracks made waves in its own way. Disclosure have been nominated by The Academy a handful of times. Will this finally be the year they take home the gold? Let us know who you think is deserving of Best Dance Recording! View the full list of nominees here. 2019 Grammy Awards – Best Dance Recording Above & Beyond – Northern Soul [ft. Richard Bedford] Disclosure – Ultimatum [ft. Fatoumata Diawara] Fisher – Losing It Silk City & Dua Lipa – Electricity [ft. Diplo and Mark Ronson] Virtual Self – Ghost Voices  Photo: Roger Ho This article was first published on Your EDM. Source: 2019 Grammy Awards: Best Dance Recording Nominees Source

Buku has easily become one of my favorite bass producers of 2018. His Bassnectar-esque productions are of consistent quality and have a distinct personality that sets him apart from the pack, even in that realm of bass music. His new remix of “Come My Way” by The Funk Hunters is a perfect example. “Come My Way” is a fan-favorite from The Funk Hunters’ debut album Typecast, released earlier this year. The original is a quasi-trap funky bass tune that comes to life thanks to vocals from LIINKS and Wet Paint, along with some choice lead synths. Buku reimagines the track entirely with some signature bass vibes; aside from some vocal stems from LIINKS and Wet Paint, it might as well be a whole new track! “I absolutely fell in love with the vocal work of Liinks on ‘Come My Way.’ It provided an instant spark of inspiration, which carried me through crafting this tune for the club and at home.” – BUKU Check out Buku’s remix below! This article was first published on Your EDM. Source: Your EDM Premiere: The Funk Hunters – Come My Way feat. LIINKS & Wet Paint (Buku Remix) Source

Hardwell has facilitated a huge, triple threat collaboration for today — “How You Love Me” featuring Conor Maynard and Snoop Dogg. As we creep into colder months, it’s refreshing to hear some smooth, tropical sound waves. Snoop Dogg tags the beginning of the track with his recognizable vocals, an instant hook that will engage any listener through the end. Conor Maynard follows up with his own signature pop flair, as Hardwell guides the production into a blissful dance tune. This year, it was all about the collaborations, so it’s only fitting that Hardwell ends a big year with one of his own. This new single is probably coming in a little late to be part of EDM’s year-end lists, but it sounds like a sure hit nonetheless. Listen to Hardwell’s confident track “How You Love Me” here and let us know your thoughts on this combination! Hardwell – How You Love Me feat. Conor Maynard & Snoop Dogg  aLIVE Coverage for Insomniac This article was first published on Your EDM. Source: Hardwell Goes Tropical Pop For Huge Collab with Conor Maynard & Snoop Dogg [LISTEN] Source

A mere week after Children of Bodom announced the forthcoming release of their 10th studio album, Hexed, the Finnish melodic death metal wizards have dropped the first track from the record. The new track “Under Grass and Clover” is everything you’d want from a new CoB tune: skin-piercing guitar leads, swinging blastbeats and a perfect growling vocal turn from frontman Alexi Laiho. And they’ve accompanied the reveal with a new video that finds the band where they are at their best: playing to a raucous crowd in a sweaty rock club. About this new tune, Laiho had this to say: “’Under Grass and Clover’ is the sound of CoB on fire and has been my favorite song since it was written. It’s fast, melodic, heavy and dark but also short and sweet. Someone told me that it’s kinda like old-school Dimmu Borgir and AWK and that’s pretty damn cool in my books, so we must’ve done something right .” Amen to that. Hexed, which will be released on March 8th via Nuclear Blast Records, finds CoB working once again with Mikko Karmila, the producer who has helmed a bunch of the band’s previous albums. The new record will be released on vinyl and CD, with the option of bundles that include a t-shirt or your very own Grim Reaper statuette. Pre-orders are available here. The band has also promised that they will be soon revealing further details about the album, as well as announcing upcoming tour dates, which will include shows in the U.S. and a summer trek through Europe. Source

Yultron is probably the most-slept-on artist in hardcore right now, but with any luck and some significant work from the man himself, that’s all likely to change in 2019. Heading into the end of the year, Yultron has one last banger to unleash on fans called “Slave To The Rave.” After his last track “Imma Be A Raver,” “Slave To The Rave” should feel familiar to fans. The concept is fairly similar, but the beat is fresh and exciting. With a new vocal sample to rally behind and a lead synth that is terribly infectious, “Slave To The Rave” is a hit in the making. It’s easy to picture how hard this track would go off on the crowd at a show with the pulsing lights and rhythm… can you see it? Listen to “Slave To The Rave” from Yultron below!  This article was first published on Your EDM. Source: [Premiere] Yultron Drops New Hardcore Anthem “Slave To The Rave” Source

Download | Listen and subscribe via iTunes | Spotify | Google Play | Stitcher | RSS On today’s Kyle Meredith With…, Kyle speaks with Ingrid Michaelson about the release of her very first Christmas album, Songs for the Season, and how the nostalgia that colored her approach to it ties back to her experiences with Christmas as a child. She also describes imitating the techniques of how things were done in the ’50s, the challenges implicit in making any Christmas album, and why she chose to include a sad original song. She also talks about how Stranger Things influenced her new album. Kyle Meredith With… is an interview series in which WFPK’s Kyle Meredith speaks to a wide breadth of musicians. Each episode, Meredith digs deep into an artist’s work to find out how the music is made and where their journey is going, from legendary artists like Robert Plant, Paul McCartney, U2 and Bryan Ferry, to the newer class of The National, St. Vincent, Arctic Monkeys, Haim, and Father John Misty. Check back Monday, Wednesday, and Friday for new episodes. Rate the series now via iTunes. Follow on Facebook | Podchaser | Twitter Source

At just 21 years old, it’s safe to say that Duskus has already had an illustrious career in dance music with plenty of room ahead of him to grow. At the end of 2018, Duskus presents his last track of the year, an easy-going and simple house tune called “Where To Go.” With a simple vocal sample and some soft synths, “Where To Go” is a delightful little number that isn’t harsh or tough in any manner, and is actually quite easy listening. A simple drum pattern and lead synth keep the track moving from start to finish and, despite their simplicity, never end up getting boring. As he explains, “Most of the music I make is normally very full on, I wanted to see If I could make something different but still keep it Duskus. I think this worked.” “Where To Go” is out now via bitbird, check it out below!  This article was first published on Your EDM. Source: Your EDM Premiere: Duskus – Where To Go Source

The Pitch: Rudyard Kipling’s lasting classic, The Jungle Book, but darker. That’s right: Mowgli (Rohan Chand), Baloo (Andy Serkis), Bagheera (Christan Bale), Shere Khan (Benedict Cumberbatch), Kaa (Cate Blanchett), the whole ecosystem. Just darker. Rendered in the latest computer-generated imagery, this Serkis-directed take (originally titled Jungle Book: Origins) jacks up the blood, angst, and visual dynamism of Kipling through a Peter Jackson lens. Gothic. Pulpy. Song-free. Hip and in-your-face, as the PR might suggest. And, y’know, darker. Barely a Necessity: Assembling a highly-regarded cast, state-of-the-art CGI, and the will to try and shake up a time-tested classic, Andy Serkis’ Mowgli: Legend of the Jungle is a valiant effort. It’s the kind of film where its successes are hard-fought, and it struggles to bring something new under the sun, trees, and other assorted nature. This is The Jungle Book, delivered with total earnestness. Mowgli the man-cub, raised by wolves, mentored by a panther and a bear, avoidant of one particularly bad-mood-dude tiger. That you knew. But what you need to know about Mowgli is that it’s rather harsh in its tone. Jollity and bear necessities are absent. Serkis, along with first-time scribe Callie Kloves, shoots for something that looks to delineate the crueler aspects of man’s relationship with beasts. Mowgli is the recipient of two hard lessons. One, he will never truly be a brother of his beastly cohorts, as he was born from the enemy. He’s also a child, one that will always be less feral, less dangerous, and slower than wolves and big cats. Two, man is a killer, the eternal alpha with fire and guns. And in Mowgli’s eyes, the hard truths that his friends are meat and trophies becomes this film’s calling card. Is it a revelation? No. It’s rather obvious, but that doesn’t make it any less felt when Mowgli witnesses especially harsh cruelties at the hands of boozy, hapless mercenaries. Intense close-ups, a somber tone, and a curious amount of blood mark Serkis’ take. Even with a PG-13/TV14, this Book has more carnage, lament, anger, and unease than prior adaptations. Serkis whips up raw imagery and jungle madness, making his take a testament to the durability and flexible tone of Kipling, and the enduring mystique of the author’s animals. The grotesque, feral, and lawless nature of monkeys as they kidnap Mowgli? The boy’s fearsome encounters with Bagheera as the two adoptive brothers must face off so that the man-cub learns his weaknesses? Those scenes hit. This brute force take is not entirely beyond purpose. But parents: this sure ain’t kid-friendly. This is the Watership Down of Jungle Books. Fur Real: Mowgli’s creations are the products of fully digital rendition. No puppets, no real animals with flapping CG mouths. Fully animated beasts be here, with all the requisite shading and maximum pixelated emotion one likely expects in 2018. But Serkis’ most curious move? Putting human facial expressions, specifically the bright and humanistic eyes, atop otherwise realistic critters. The actor is such a legend of the mo-cap world at this point that his particular acting contribution being the strongest is of little surprise. He pitches Baloo as a crooked-faced, Cockney drill sergeant. Jackson nerds will see a more than passing resemblance to Serkis’ King Kong work and design. Bale and Blanchett, while uneven, still manage to convey ample intrigue and use their eyes to their advantage. The only flaw is the Shere Khan design. Cumberbatch, for all his baritone, seems buried under filters and accidentally comical eyes – slanted at a 45-degree angle to add villainy. The enlarged head and the odd fit of this Khan next to the rest of the characters feels like a miss. The Verdict: Serkis and crew take such efforts to elevate and alternate the material that there needs to be praise. Filmed in 2015, shelved to distance itself from the hit 2016 adaptation, then eventually sold off to Netflix for its current release, one can’t help but feel pity. Looking at the history of dueling concept releases (asteroid movies, CG bug movies, volcano movies, doomsday bomb movies), it’s as through Warner Brothers thought it wasn’t broad enough for a big release (or maybe Disney took away too much Kipling money for this to get big push). So here we are, with something edgy and slightly awkward. Mowgli is not entirely recommendable, but it’s not a total bust either. The harshness, while at times vivid, just smacks of a lack of inspiration. What if it went further, one wonders. What’s the R-rated version of The Jungle Book like? You’re already going ‘dark,’ go darker. Or do something completely different. For comparison, Shakespeare updates have the courage to change time, costumes, acting styles, etc. Think about it. You’ve got the Disney-loved take already doubling down in kids hearts, so why not go nuts? Set Jungle Book in a Metropolitan zoo. Cast real animals — wait, Stephen Sommers did that in 1994. Or completely change the animals. The Jungle Book with house pets, or The Jungle Book with humans as a metaphor for the primal. Set it in modern times, buy a score from a rock band, cast Nicolas Cage, something to shake up the status quo of adaptations. And that’s why this pitch, as carefully produced as it is, will leave many wanting. But for now, dark it is. This new Kipling, while commendable in its attempt to brood over the material, has only that to its benefit, and it grows tedious and solemn in that light. Our kingdom for a bear. Where’s It Playing?: Netflix streaming. Theatrical exhibitions have already come and gone in limited locations in New York, Los Angeles, and other cities. Trailer: Source

Download | Listen via Apple Podcasts | Spotify | Google Play | Stitcher | Radio Public | RSS | Follow via Facebook Our debut season of The Opus concludes its dissection of Bob Dylan’s Blood on the Tracks, exploring how the legendary album and its ongoing legacy has sharpened lives, shaken rafters, and ingrained themselves into our culture From The Basement Tapes to the mythical sessions that would become the just released More Blood, More Tracks collection – bootlegs of Bob Dylan’s music are central to not just his story, but the music industry at large. Host Paula Mejia is joined by three critics, record collectors, and Dylan fans Jesse Jarnow, Alison Fensterstock, and More Blood, More Tracks liner notes author Jeff Slate to discuss the bootleg culture that’s thrived alongside Dylan’s studio recordings, shed some light on the myths surrounding Blood on the Tracks, and explore how Dylan keeps reinventing these songs in the present. (Read: Debunking the Five Biggest Myths Behind Bob Dylan’s Blood on the Tracks) Listen above and stay tuned for our next season of The Opus, coming in January and chronicling Jimi Hendrix’s Electric Ladyland. Be sure to subscribe to The Opus on your favorite podcast platform to stay up to date. The Opus is a co-production of the Consequence Podcast Network and Sony. For more Dylan, check out More Blood, More Tracks, the latest installment in Dylan’s Bootleg Series, which is currently on sale. The deluxe edition includes more than 70 previously unreleased recordings from the sessions behind Blood on the Tracks, specifically outtakes, studio banter, false starts, and alternate versions of “Tangled Up in Blue”, “Simple Twist of Fate”, and “Shelter From the Storm”. Stream a preview of the collection below via Spotify. Source

Israeli DJ and Producer, Zohar Shaler, a.k.a ZHR, has a driving desire to bring the world transcending music. Ever since getting signed by international label, Joy Records, he has been making an lasting impression by playing at major clubs and events, including alongside artists like NGHTMRE, SKAZI, Ido B & Tzooki, HEVI LEVI, ADAG!O and more. His latest work has been backed by Armada. Inevitably we were attractive to his energy, so we asked for an exclusive mix of his most coveted sounds. Ask and you may receive! Today we are pumped to present two exclusive thatDROP guest mixes by ZHR. thatDROP Guest Mix To get familiar with ZHR, take a trip through his club-ready melodic house mix, featuring music that you will not have heard statewide. In this mix you will hear tracks by, __. There is a very tribal vibe that will drive deep to your core, bringing you to a higher place. Plug in and simply enjoy the freshest house music of Israel. Listen to ZHR melodic house mix: For the next exclusive mix, ZHR serves us a real techno treat. As he looks to explore the world with his music, he has an wide arsenal of sounds to blow up the dance floors wherever he goes. No matter the flavor people are eating up, he has it. His tracks present a unique fusion of genres, from a collaboration with the famous singer Meital De Razon, to techno and the hard hitting G House “Boss” EP. After 7 releases in 2018, including 2 collaborations with the international DJ and Producer Suiss, the best is yet to come. For now as ZHR looks toward Chile for his next tour, techno is on the decks during his thatDROP guest mix. Listen to ZHR in the mix [free download]: ZHR’s new track “This is it” was just released on Stell Recordings, Novermber 26th. “This is it” is a no-holds barred dance music single. With a monster bassline and Israeli influenced melodies, ZHR slaps you in the face with a wall of blissful energy. Zohar was kind enough to make this one a free download. Listen now. Now that you got the run down of this haus and scored some free downloads, it is time to warmly welcome ZHR into your household. Discover more of the music that keeps him ticking by listening to his EDM Sessions on Spotify. Stay tune to his latest and spread the love by connecting with him on his social media handles linked below. Zohar Shaler Follow ZHR: facebook | SoundCloud | Instagram | Spotify | YouTube | Twitter | Mixcloud The post Enter the World of Israeli DJ ZHR During Two thatDROP Exclusive Mixes appeared first on EDM | Electronic Music | EDM Music | EDM Festivals | EDM Events. Source

Fresh off a summer tour in support of their latest album, Space Gun, Robert Pollard’s prolific Guided By Voices have announced a massive new double-album called Zeppelin Over China. The band’s second double-album after last year’s August By Cake (which also happened to be their 100th LP overall) is due out February 1st. Spanning 32 songs over 75 minutes, Zeppelin Over China was recorded with collaborator and engineer Travis Harrison. The record pushes the scope of Pollard’s songwriting as he embarks on a new musical journey with the latest incarnation of his band, guitarists Doug Gillard and Bobby Bare Jr., drummer Kevin March, and bassist Mark Shue. As a first listen to the effort, GBV have shared the lead single “My Future in Barcelona”. The anthemic track finds Pollard stretching the limits of his vocal capabilities, and you can take a listen below. Ahead of Zeppelin in China, GBV have released four vinyl-only limited edition 7-inch EPs. Both Winecork Stonehenge and 100 Dougs are available today, while Umlaut Over The Özone and 1901 Acid Rock are set to arrive in March. Additionally, GBV have already announced a follow-up LP to Zeppelin Over China; entitled, Street Party, it’s due out in February 2020. Zeppelin Over China Artwork: Zeppelin Over China Tracklist: 01. Good Morning Sir 02. Step of the Wave 03. Carapace 04. Send In the Suicide Squad 05. Blurring the Contacts 06. Your Lights Are Out 07. Windshield Wiper Rex 08. Holy Rhythm 09. Jack Tell 10. Bellicose Starling 11. Wrong Turn On 12. Charmless Peters 13. The Rally Boys 14. Think. Be a Man. 15. Jam Warsong 16. You Own the Night 17. Everything’s Thrilling 18. Nice About You 19. Einstein’s Angel 20. The Hearing Department 21. Questions of the Test 22. No Point 23. Lurk of the Worm 24. Zeppelin Over China 25. Where Have You Been All My Life 26. Cold Cold Hands 27. Transpiring Anathema 28. We Can Make Music 29. Cobbler Ditches 30. Enough Is Never at the End 31. My Future in Barcelona 32. Vertiginous Rafts GBV are set to appear at both Primavera Sound and NOS Primavera 2019. Before that, they have a pair of US gigs to end the year, including a New Year’s Eve gig in Chicago. Find the band’s complete itinerary below. Guided By Voices 2018-2019 Tour Dates: 12/30 Minneapolis, MN @ First Avenue & 7th St Entry 12/31 Chicago, IL @ Bottom Lounge 05/30 Barcelona, ES @ Primavera Sound 06/07 Porto, Portugal @ NOS Primavera Source

Disney’s live-action reboot fever has spread to more than just its slate of theatrical remakes of beloved Disney Renaissance films; the Disney Channel is reviving one of its most beloved cartoons from the aughts – the high-kicking kid spy series Kim Possible – to a live-action TV movie. Now, Disney’s revealed its first look at the kid spy in the flesh. If you’ll recall, the original Disney Channel series followed the titular Kimberly Ann “Kim” Possible, a popular high school student who split her time between cheer practice and fighting crime, aided by bumbling sidekick Ron Stoppable, tween computer hacker Wade Load and her naked mole rat Rufus. It was flashy, it was fun, and had a kickin’ theme song by Christina Milian called “Call Me, Beep Me” – best to not unpack that title. With this new trailer, we get a glimpse of the re-imagined world of Kim Possible, and it appears as if they’ve gone 100% Spy Kids with their approach (which isn’t the worst idea in the world, to be honest). The trailer shows Kim (now played by newcomer Sadie Stanley) enjoying her busy routine of roundhouse-kicking villains with a jetpack, then zooming back to school in time for classes. We then see scenery-chewing baddie Drakken (Todd Stashwick) scheming to steal the “spark” that “makes Kim possible,” along with a flurry of mid-budget martial arts and cheesy costumes. It’s all a bit homespun, but hey, the Disney Channel doesn’t have that much money to throw around. Plus, the script is co-written by Josh Cagan, who wrote the surprisingly solid high school comedy The DUFF, so there’s hope yet. Alongside Stanley, there’s a few more familiar faces to round out the cast. Buffy the Vampire Slayer’s Alyson Hannigan plays Kim’s scientist mother Dr. Ann Possible, and The Goldbergs star Sean Giambrone is curiously perfect casting for the hapless Ron Stoppable. Original Kim voice actor Christy Carlson Romano is also set to cameo in the film. Most notably, though, fellow Kim Possible supervillain Professor Dementor will be played by Patton Oswalt, who voiced the character in the original animated series. (In another unexpected connection, Oswalt provides the voice of the adult version of Giambrone’s character on The Goldbergs.) We’ll have to wait and see whether Kim Possible has the aforementioned spark of the original show, but in the meantime, it might make a nice nostalgia hit for those who remember the show. After all, kids who grew up in the aughts are old enough to have young kids now – chew on that for a minute. Kim Possible ziplines onto your TV screens March 2019. Watch the trailer below. Source

The Faint returned in October with their first song in two years, “Chameleon Nights”. Now, the Omaha outfit has announced a new album on which that chaotic tune is set to appear. Titled Egowerk, it’s due out March 15th through Saddle Creek. The 11-track effort was entirely self-produced by the band and serves as the follow-up to 2014’s Doomed Abuse. Much like their previous single, Egowerk comments on the current state of the world. Specifically, they focus on social media and the Internet as a whole, described by the band’s own Todd Fink as “an amazing world of free knowledge, communication, and opportunity” that is “proving to be a toxic battleground. “One where the people most sure of their opinion are quick to take a stand and destroy anyone who doesn’t agree with them,” he adds. Along with “Chameleon Nights”, the tracklist includes the new single “Child Asleep”, which talks about being a truly “awake” being in today’s society. Fink elaborates further: “It would be amazing if I could wake up from the world that I think I’m awake in already. If there’s a better way of understanding life, I’d love to be privy to it. You see the wisdom of all Gurus in the East, and you know they’re not bothered by this or that. They’ve attained something, and the rest of us are just kind of banging into stuff, trying to figure out what to do with our lives.” Check it out below via its Nik Fackler-directed visual. Egowerk Artwork: Egowerk Tracklist: 01. Child Asleep 02. Chameleon Nights 03. Life’s a Joke 04. Alien Angel 05. Egowerk 06. Own My Eyes 07. Source of the Sun 08. Another World 09. Quench the Flame 10. Young & Realistic 11. Automoton Source

Each week we break down our favorite song, highlight our honorable mentions, and wrap them all up with other staff recommendations into a playlist just for you. Mark Ronson has had a hell of a year. The producer is, at this point, a legend, writing and engineering for artists like Amy Winehouse, Bruno Mars, and many in between. 2018 has been particularly prolific for Ronson due to his songwriting with Lady Gaga for the box-office smash A Star Is Born, whose lead single, “Shallow”, was written in part by the Brit. In addition to all this, Ronson has released the first song in anticipation of his upcoming solo album, “Nothing Breaks Like a Heart”. The single features Miley Cyrus on vocals and fuses her Tennessee roots with a modern twist, creating a simultaneously heart-wrenching and danceable tune. Cyrus and Ronson pair well together, the former’s raw talent and knack for soulful vocals balancing the DJ’s skill for unique and enthralling production. The chorus of “Nothing Breaks Like a Heart” will be stuck in listeners’ heads for days or even weeks, a tumbling declaration of life’s hurdles that feels both melancholy and triumphant in the face of lost love. The marriage of Cyrus’ pop stardom and Ronson’s skill for creating bona fide hits is a match made in heaven, and “Nothing…” is an example of that can’t-miss compatibility. –Clara Scott Contributing Writer _______________________________________________________ HONORABLE MENTIONS Chance the Rapper – “My Own Thing” feat. Joey Purp “My Own Thing” is brimming with the personality of Chance the Rapper, both in its independent sentiment (exactly the right feeling for the end of the year) and in its infectiously upbeat rhythm, which shifts and catches at all the right times. –Laura Dzubay Arctic Monkeys – “Anyways” “Musing” is perhaps the best word to describe “Anyways”, which thoughtfully extends the work Arctic Monkeys did earlier this year on Tranquility Base Hotel & Casino, exploring the effects of fame on identity with lines like “Nosebleeds from epiphanies I took full in the face” against a background flushed with retro twang. –Laura Dzubay Toro Y Moi – “Ordinary Pleasure” Toro Y Moi brings funk to the realm of synth-pop in “Ordinary Pleasure”, balancing the woes of sold-out relationships (“Does sex even sell anymore?”) with the demanding nature of happiness. –Laura Dzubay Kaytranada – “Nothin Like U” feat. Ty Dolla $ign Kaytranada is submerged within a focused dream in “Nothing Like U”, singing his appreciation for another amidst a dreamy, synthy canvas that evokes the glimmering of city lights. –Laura Dzubay Phoebe Bridgers – “Friday I’m in Love” (The Cure Cover) Quick on the heels of boygenius, Phoebe Bridgers has brought an entirely new tenderness to The Cure’s classic “Friday I’m In Love”, channeling the pop-rock hit into a close and confessional moment illuminated by little more than gentle vocals and piano. –Laura Dzubay _________________________________________________________ OTHER SONGS WE’RE SPINNING SABA – “Excited” Saba gives shout-outs to influences as disparate as John Coltrane, Johnny Cage, and Cardi B in this catchy and cohesive hip-hop track, clocking in at a sharp two minutes. –Laura Dzubay The Decemberists – “Traveling On” The Decemberists’ “Traveling On” feels like a sad version of Weezer’s “Island in the Sun” in the best possible way: the track is feel-good, rhythmic, and catchy in all the right places, creating a memorable single full of folk soul. –Clara Scott Cautious Clay – “REASONS” Offering a promising glimpse into Cautious Clay’s upcoming EP, “REASONS” is an energetic song full of looping, echoing vocals, and intimate, well-crafted lyrics like, “I always knew you would change like seasons.” –Laura Dzubay Great Grief – “Feeling Fine” “Feeling Fine” is a standout on Great Grief’s recently released sophomore album, a cathartic release of energy and pent-up anger that comes out in the frontman’s frenzied vocals. –Clara Scott _______________________________________________________ This Week’s Playlist Source

Icelandic avant-rock outfit Sigur Rós are no strangers to the ambitious and experimental. Just this year, they launched their “endless ambient streaming mixtape,” Liminal, an ongoing digital playlist intended as a showcase for remixes of their existing songs, unreleased tracks, rarities, and songs still in development. Today, Liminal expands to its third hour, adding yet more material to this grand streaming experiment. Unlike the first two hours, which featured a combination of tracks from the band and others, Liminal 3 is all Sigur Rós, offering a preview of songs featured in their Magic Leap augmented experience Tónandi. With this, the project’s brief expands beyond curated ambient soundbaths to a “proving ground for new material,” according to a press release. Like its previous installments, Sigur Rós celebrated the launch of Liminal 3 with a private event in Los Angeles last night, featuring a live soundbath from Liminal. NTS Radio will broadcast audio from the event tonight, but you can see video from the live-streamed event itself below. Stream Liminal 3 on Apple Music and Spotify below. Liminal Vol. 3 Artwork: Liminal Vol. 3 Tracklist: 01. Falinn 02. Lightseed I 03. Lightseed II 04. Lykkjur (Kjartan Holm remix) 05. Sticky Lines (Paul Corley remix) 06. Isjaki (Kjartan Holm remix) 07. Blue Orb I 08. Blue Orb II 09. Hellar (Paul Corley remix) 10. Far (Paul Corley remix) Source

Progressive metal veterans Dream Theater announced their 14th studio album, Distance Over Time, a month ago, and now they’ve released the first single from the disc. The album-opening track “Untethered Angel” can be heard in the music video below. The track starts out with an ambient intro courtesy of guitarist John Petrucci and keyboardist Jordan Rudess, before drummer Mike Mangini and bassist John Myung kick things up a notch with a thunderous rhythm section as singer James LaBrie dives in with his initial verses. “During the writing and recording process of D/T, ‘Untethered Angel’ was known as ‘Song 4’ to all of us as it was the 4th song written during the sessions,” revealed Petrucci of the track in a press release. “However, there has always been something about this track that just begged for it to be the album opener, even long before all of the songs were written.” He added, “Fear is something that rears its ugly head at some point or another in all of our lives. Fear of the unknown, fear of taking chances, fear of making mistakes. If we are not careful, it can be debilitating and sadly prevent us from realizing our true potential. The world we live in can be a scary place and the thought of an uncertain future a terrifying notion, especially for today’s young people. Untethering from that fear and giving yourself up to the future’s countless possibilities is what will ultimately set you free.” Distance Over Time will arrive on February 22nd, and is available for pre-order in various formats here. Along with the new song, the band has also revealed the tracklist for the album (see below). As previously reported, Dream Theater will embark on a spring tour in support of the new album and in celebration of the 20th anniversary of their 1999 disc, Metropolis Pt. 2: Scenes from a Memory. Dates can be found here. Distance Over Time tracklist: 01. Untethered Angel 02. Paralyzed 03. Fall Into The Light 04. Barstool Warrior 05. Room 137 06. S2N 07. At Wit’s End 08. Out Of Reach 09. Pale Blue Dot 10. Viper King (Bonus Track) Source

The 2019 Grammy Award nominations were announced this morning. Kendrick Lamar, Cardi B, Janelle Monáe, and Childish Gambino led the pack nabbing the most and biggest nods, while Greta Van Fleet, Arctic Monkeys, St. Vincent, Travis Scott, and Drake also pulled in noteworthy mentions. Conspicuously snubbed, however, were three of music’s most popular artists: Ariana Grande, Kanye West, and Taylor Swift. Although they each received recognition in some way, the trio were all but shut out from the top categories, including those that have since expanded their number of possible nominees. (Read: Top 50 Albums of 2018) Grande has been a ubiquitous figure throughout much of 2018, what with Sweetener’s countless smash singles (“god is a woman”, “no tears left to cry”), her epic music videos, her outspoken nature on the topic of mental health, her record-breaking streaming numbers, and her ties to both Mac Miller and Pete Davidson. This return to the spotlight is also no small feat in and of itself, a triumphant comeback following the 2017 Manchester Arena bombing. And yet, Grande received zero nominations in the general categories like Album of the Year, Record of the Year, or Song of the Year, earning only genre-specific nods for Best Pop Solo Performance (“god is a woman”) and Best Pop Vocal Album. Kanye’s ye is hardly the best in his catalog, yet it’s still surprising to see the Chicago rapper absent from literally every single category except for Producer of the Year (non-classical). Sure, he’s managed to go his whole career without a Grammy in any of the major categories (only the rap and R&B ones), but one has to wonder whether the lack of even a nomination has to do partially with the MC’s especially divisive nature in 2018. Compared to her past releases, Swift’s Reputation has had a mostly lukewarm impact on the pop music landscape. Even so, the thing still sold incredibly well, Swift went on to embark on a successful stadium tour, and her brand has remained in tact, still strong among her dedicated fanbase. However, perhaps for the first time ever, her enduring popularity hasn’t carried over into the Grammys — Reputation was recognized in the Best Pop Vocal Album category, but failed to make a showing anywhere else. For someone who has one of the most outstanding Grammys track records (31 nominations, 10 wins), just one 2019 Grammy nomination is an obvious blow. Check out the full list of 2019 Grammy Awards nominations here. The ceremony takes place February 10th at the Staples Center in Los Angeles. Source

It was back in April that Saba dropped what turned out to be one of 2018’s Top Albums, Care for Me. Most artist would be satisfied if they put out the third best record of the year, but the Chicago MC hasn’t been resting on success. He released four tracks over the last month — “Stay Right Here”, “Beautiful Smile” featuring IDK, Pivot Gang’s “Blood”, and “Excited” — and now he’s back with his fifth in as many weeks, “Papaya”. Like “Excited”, “Papaya” is definitely a song built for chilling. Saba delivers sing-rap lines about falling for a girl who’s not readily available. “Your brown skin turns blue under the moon/ You know I don’t smoke, but you fired the joint,” he sings on the chorus. “I just want to chill with you/ I ain’t got shit to do, I was hopin’ you’d join.” daedaePIVOT also features on the track, while Ari Lennox provides additional backing vocals. Take a listen below. Source

The nominations for the 61st annual Grammy Awards were announced this morning (December 7th). While the Recording Academy has been accused of being out of touch when it comes to the metal and rock categories in the past, this time those fields include an intriguing mix of acts, both up-and-coming and established. Best Metal Performance nominees include Between the Buried Me (“Condemned to the Gallows”), Deafheaven (“Honeycomb”), High on Fire (“Electric Messiah”), Trivium (“Betrayer”), and Underoath (“On My Teeth”). Meanwhile, Best Rock Song features heavier bands like Greta Van Fleet (“Black Smoke Rising”), Ghost (“Rats”), and Bring Me the Horizon (“Mantra”) competing against alternative acts like St. Vincent (“Masseducation”) and Twenty One Pilots (“Jumpsuit”). Over in the Best Rock Performance category, nominations went to Greta Van Fleet (“Highway Tune”), The Fever 333 (“Made An America”), Halestorm (“Uncomfortable”), Arctic Monkeys (“Four Out of Five”) and the late Chris Cornell (“When Bad Does Good”). And the Best Rock Album category also celebrates heavier music, with Alice in Chains (Rainier Fog), Greta Van Fleet (From the Fires EP), and Ghost (Prequelle) alongside Weezer (Pacific Daydream) and Fall Out Boy (M A N I A). The attention didn’t stop there for Greta Van Fleet, who also received a nod for Best New Artist, earning them four nominations overall. And while the metal and rock categories did a nice job of representing heavier bands, the big general categories like Album of the Year, Record of the Year, and Song of the Year completely shut out rock music, instead sticking with mostly pop and hip-hop releases. The 61st Grammy Awards will air live on CBS on February 10th from the Staples Center in Los Angeles. See a list of nominees in all the major categories here. Source